O‘ZBEK MUMTOZ MUSIQASIDA NAZIRA AN’ANALARI (“UFORI SEGOH” ASHULASI MISOLIDA)

KIRISH: ushbu maqolada “bastakor” atamasining kelib chiqishi, Xorazm bastakorlik maktabi haqida hamda hofiz, bastakor Azamat Otajonov ijod qilgan “Ufori Segoh” ashulasining tahlili keng yoritib berilgan. MAQSAD: maqolaning asosiy maqsadi — “bastakor” atamasining kelib chiqishini izohlash, Xorazm bastakorlik maktabining o‘ziga xos xususiyatlarini ko‘rsatish hamda Azamat Otajonov ijodidagi “Ufori Segoh” ashulasini ilmiy tahlil qilish. MATERIALLAR VA METODLAR: tadqiqotda bastakorlik san’atiga oid ilmiy maqolalar, monografiyalar, seminar materiallari va musiqiy asarlar tahlil qilindi. Metod sifatida tarixiy-musikashunoslik tahlili, taqqoslash va amaliy seminar kuzatuvlari qo‘llanildi. MUHOKOMA VA NATIJALAR: tahlillar shuni ko‘rsatdiki, Xorazm bastakorlik maktabi o‘zining naziralar, Qalabandi va Rok turkumlari bilan ajralib turadi. Azamat Otajonovning “Ufori Segoh” ashulasi bastakorlik an’analarini zamonaviy ijro bilan uyg‘unlashtirgan holda, musiqiy merosni boyitishga xizmat qilmoqda. HULOSA: bastakorlik san’ati o‘zbek musiqa madaniyatining ajralmas qismi bo‘lib, Xorazm bastakorlik maktabi va Azamat Otajonov ijodi milliy musiqiy merosni rivojlantirishda muhim ahamiyatga ega. “Ufori Segoh” ashulasining tahlili bastakorlik san’atining ilmiy va amaliy jihatdan o‘rganilishi zarurligini ko‘rsatadi.

INTRODUCTION: this article provides an extensive overview of the origin of the term "bastakor," the Khorezm school of composition, and an analysis of the song "Ufori Segoh" created by the hafiz and composer Azamat Otajonov. AIM: the main objective of the article is to explain the origin of the term "bastakor," to demonstrate the unique characteristics of the Khorezm school of traditional composition, and to provide a scientific analysis of the song "Ufori Segoh" in the creative work of Azamat Otajonov. MATERIALS AND METHODS: the research involved an analysis of scientific articles, monographs, seminar materials, and musical works related to the art of traditional composition. Historical-musicological analysis, comparison, and practical seminar observations were employed as research methods. RESULTS AND DISCUSSION: the analysis revealed that the Khorezm school of traditional composition is distinguished by its traditions of nazira (musical responses) and the Qalabandi and Rok cycles. Azamat Otajonov's song "Ufori Segoh" enriches the musical heritage by harmonizing traditional compositional methods with modern performance. CONCLUSION: the art of traditional composition is an integral part of Uzbek musical culture, where the Khorezm school and the works of Azamat Otajonov hold significant importance in developing national musical heritage. The analysis of "Ufori Segoh" underscores the necessity for both scientific and practical study of the bastakor art.